Deconstructionist Literary Criticism Deconstructionism liberates the notion of text from a discernible epistemological center. There is no absolute underlying structure to which a text must be accountable. Language is important, Jacques Derrida asserts, but do not believe for one moment that it is stable; it exists in an infinite "interplay of signification" (961). He also describes writing, rather than speech, as the primary foundation for language. What does this do to textual meaning? Can it even exist? "The concept of centered structure is...the concept of freeplay based upon a fundamental ground" (Derrida 960). Deconstructionist criticism attempts to show that the dynamic "freeplay" of differences in signs (stated and unstated) within a text give rise to meaning without this fundamental ground. Deconstructionist critics hope to reveal the point at which a text collapses in upon itself, the point at which it says something it ostensibly does not mean to say. Works Cited Derrida, Jaques. "Structure Sign and Play in the Discourse of the Human Sciences" The Critical Tradition. Ed., David H. Richter, New York: St. Martin's Press, 1989.
Texts can be analyzed both intrinsically and extrinsically which are various techniques used for analysis. Contrary to the intrinsic analysis, the extrinsic attitude lays emphasis on what is outside the text and how the language used can be related to the issues that happen in our societies. Extrinsic analysis has a broader surface because it consists of diverse theories including Marxist Literary Criticism, Post Colonial Theory, and Feminist Literary Criticism, just to cite a few.
In the crucible, I believe reputation and respect was interwoven in the term of the play the ‘‘crucible’’. Reputation and Respect can also be a theme or a thematic idea in the play, reputation is very essential in a town where social status is synonymously to ones competence to follow religious rules. Your standing is what enables you to live as one in a community where everyone is bound to rules and inevitable sequential instructions. Many characters for example, john proctor and reverend parris, base their action on the motive to protect their reputation which is only exclusive to them. People like reverend parris saw respect as what made them important or valuable in a town like Salem, this additionally imprinting to his character as a very conventional man.
One of Buck's Internal Conflict is choosing between a master or a wolf pack(love of John Thornton and the Call of the wild).
Such charges have received insufficient response from deconstruction's top theorists who, though they define and redefine the basic tenets of their approach, fail to justify such an approach in the world. They have explained their purpose, but not their motivation. With this desperate need in mind, then, embarking on any new piece of deconstruction poses a twofold demand: to not only seek to unfold new facets of a text (or texts) through a deconstructive lens, but to aim that lens outside of literature and show its implications in society, away from any ivory tower.
Poverty and homelessness are often, intertwined with the idea of gross mentality. illness and innate evil. In urban areas all across the United States, just like that of Seattle. in Sherman Alexie’s New Yorker piece, What You Pawn I Will Redeem, the downtrodden. are stereotyped as vicious addicts who would rob a child of its last penny if it meant a bottle of whiskey.
As he starts to understand the law of club and fang, Buck lands in Dyea Beach, his first night at camp Curly (A fellow dog purchased with Buck by Perrault) dies.When the dogs forsaken Curly’s body after the fight, “But she lay there limp and lifeless in the bloody, trampled snow, almost literally torn to pieces, this word half-breed standing over her and cursing horribly. The scene often came to book to trouble him in his sleep. So that was the way. No fair play. Once down that was the end of you” (London 32). When Curly dies in a dogfight against a more experienced husky, he was torn to shreds by other surrounding dogs. This is called the wolf-manner of fighting. The wolf-manner of fighting is not only to strike and leap away, but to win by strength, decisiveness, and to gain from other weaknesses. Curly was the first dog that Buck would see killed, he is so traumatized by this event that he promises himself that he would never lose. By that changing himself to represent less a follower and more of leader, and as much as he tries not to develop attachment to humans or other dogs. As Buck changes and adapts to his new environment he keeps this promise and figures out a ways to harness his power. Later on, the Yeehat tribe invaded John Thornton’s camp and killed him, Buck leaps into action and kills a couple members
Deconstruction or poststructuralist is a type of literary criticism that took its roots in the 1960’s. Jacques Derrida gave birth to the theory when he set out to demonstrate that all language is associated with mental images that we produce due to previous experiences. This system of literary scrutiny interprets meaning as effects from variances between words rather than their indication to the things they represent. This philosophical theory strives to reveal subconscious inconsistencies in a composition by examining deeply beneath its apparent meaning. Derrida’s theory teaches that texts are unstable and queries about the beliefs of words to embody reality.
The novella The Call of the Wild is a story of Buck overcoming challenges while being thrown into the real world and learning new traits like persistence and resilience. Protagonist Buck is a colossal St Bernards cross Scotch shepherd dog, transforms from a humble house dog and then eventually returns to a primordial state as a best of the wild. Along the way he is faced with an endless array of challenges. London achieves this by portraying Buck’s change in character in a manner that explores and incorporates diverse motifs.
Death can both be a painful and serious topic, but in the hands of the right poet it can be so natural and eloquently put together. This is the case in The Sleeper by Edgar Allan Poe, as tackles the topic of death in an uncanny way. This poem is important, because it may be about the poet’s feelings towards his mother’s death, as well as a person who is coming to terms with a loved ones passing. In the poem, Poe presents a speaker who uses various literary devices such as couplet, end-stopped line, alliteration, image, consonance, and apostrophe to dramatize coming to terms with the death of a loved one.
at the end, buck has adapted to being wild and soon becomes part of a wolf pack. first, buck begins to kill wild game. for example buck kills bear, wolverines, moose etc. since buck starts killing the wild game he is becoming wild. second, buck kills yeehats for instance buck rips out their throats and runs them down since buck killed a human he is wild. last, buck becomes part of a wolf pack. for example buck battles his way into the pack, and becomes the leader since buck is pack of a wolf pack he becomes a ghost dog and is
what meets the eye. So in an odd way then, Shelley leaves us to decide
Brutus was a key figure in the assassination of a well-loved public figure that helped bring Rome to great prosperity. By the time of his assassination, Caesar had greatly grown in power and had won over most of the public to the point of near fanaticism. Considering
Buck is from a household where nothing is hard for him to do, and he always has plenty to eat. Out in the wild, overtime Buck learns how to survive like a wild dog. For example, he learns how to make a bed by digging a hole in the snow that way his body heat is in the hole, while the cold air is blowing around above. Another example would be that he learns how to be sneaky like one of his other dog friends, and is able to take his masters food without them looking.
Stoehr, Louise E. “Perspectives on Discourse Analysis: Theory and Practice.” ebscohost.com. 20100825. Literary Reference Center. 20 December 2011.
He argues that one may be able to note the intentionality but he/she may not be able to know the intention, and this makes it important to differentiate between text and discourse. Discourse is responsible for finding the intention of the text by relating its content to the extralinguistic reality. The process of relating the text to the extralinguistic reality, which is the discourse, results in the text. Widdowson thus defines discourse as “the pragmatic process of meaning negotiation” and the text as “its product” (p.8). Other scholars who distinguish between text and discourse in terms of product and process are Brown and Yule (1983). They state that “the discourse analyst treats his data as the record (text) of a dynamic process in which language was used as an instrument of communication in a context by a speaker/ writer to express meanings and achieve intentions (discourse)’ (Brown and Yule, 1983:26). It can be noted that Brown and Yule’s description of text and discourse is similar to that of